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J. A. Štěpán and his Music for Harpsichord from the Musical Archive in Kremsier
Žďárská, Petra ; MRÁZKOVÁ, Giedre (advisor) ; Willi, Barbara Maria (referee)
This thesis focuses on the interpretation of harpsichord sonatas written by Josef Antonín Štěpán / Joseph Anton Steffan (1726–1797), who was an important figure in Viennese musical life of the eighteenth century. His works influenced a large number of his contemporaries, including Joseph Haydn, Jan Křtitel Vaňhal, Leopold Koželuh, and Wolfgang Amadeus Mozart. His compositional procedures departed from period conventions: a number of his sonatas and concertos for keyboard instruments begin with a slow introduction to an opening fast movement; he experimented with one-movement forms (sonatas, capriccios); in 1778 he published the very first collection of Germans songs with piano accompaniment in Vienna. The foundation for his music is his detailed knowledge of counterpoint and thoroughbass practice, and he draws on influences from Italian music, Czech folk music, the Gallant style and the Sensitive style. In his late works, he even arrives at a Pre-Romantic style. It is incomprehensible that he has nearly been forgotten in spite of his fame in his own day.
In an attachement there is enclosed a critical edition of Steffan´s sonatas, PicŠ. 19–21 issued in ARTA (April 2017).
Key words:
Joseph Anton Steffan / Josef Antonín Štěpán
Sonatas for keyboard instruments
Sonata form
Interpretation
Chamber music with harpsichord
Musical archive of the Arcibishop´s castle in Kremsier (the Czech Republic)
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A Harpsichord in the works of Bohuslav Martinů
Kubátová, Jarmila ; KNOBLOCHOVÁ, Monika (advisor) ; ŽĎÁRSKÁ, Petra (referee)
The first chapter of the thesis "A Harpsichord in the works of Bohuslav Martinů" introduces this significant Czech composer. Chapter two presents the female interpreters of Martinů's harpsichord works. Marcell de Lacour and Antoinette Vischer, two female harpsichord players who commissioned Martinů to compose works for harpsichord, are discussed here as well as two Czech female harpsichord players Zuzana Růžičková and Monika Knoblochová, who recorded complete Martinů's harpsichord work. The list of Martinů's harpsichord compositiones is summarised in chapter three. The formal and harmonic analysis of two the most important compositions Sonate pour Clavecin and Deux Impromptus are included.
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The Importance of Czech Composers of the Second Half of the 18th Century
Žáková, Lucie ; MRÁZKOVÁ, Giedre (advisor) ; SPURNÝ, Vojtěch (referee)
The topic of my Master's graduation thesis is the music of the 18th century and the importance of Czech composers in the context of the whole Europe.At the beginning of the work we are led into the historic consequences where there is a brief introduction of the political and social situation and where the status of a musician in the world of those times and his role are discussed. Then Czech musicality and its importance for European Classicism are referred to.In the following chapters the musical environment in the Czech lands are dealt with, together with the importance of Czech schoolmasters' families and castle orchestras in our countries. The consecutive chapter deals with the Czech emigration, music centres and institutions in Europe and other crucial events of the 18th century. The 8th chapter focuses on the types of compositions in the period of Classicism and their use in practice. The final chapter gives a detailed overview of the compositions for four hands for keyboard instruments in the 18th century, specifically the composers, music examples for compositions for four hands and at the very end the author's own experience of four-hands keyboard playing is shared.
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Harpsichord - Basso continuo and obligate tool in chamber music by J. S. Bach (focusing on sonatas for violin and harpsichord)
Nováková, Denisa ; MRÁZKOVÁ, Giedre (advisor) ; SPURNÝ, Vojtěch (referee)
Master's graduatinon thesis Harpsichord-Basso continuo and obligate instrument in chamber music by J.S.Bach (focusing on sonatas for violin and harpsichord) deals mainly with 17th and 18th century. The content of the thesis is divided into three main chapters, which are further divided into sub-chapters, accompanied by footnotes and the note annexex at the end of the thesis.
The first chapter outlines the role of the harpsichord in the play basso continuo. The second chapter deals with the transformation of basso continuo parts to obbligato parts from German authors of the 18th century. The third chapter analyzes the topic of the harpsichord concerto as instruments in the violin sonatas by Bach and explains the Bach Sonata in E Major for obbligato harpsichord and violin (BWV 1016) which I played at the master´s concert. The final chapter is a summary of the previous chapters.
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